After months of deliberation, analysis, thinking, and planning, and despite recently purchasing a new high-end digital camera and using it extensively, I recently made a modest investment that I view as a demonstration of my commitment to film photography: I bought a 400-foot (122m) roll of 35mm Kodak Vision3 50D, or what I prefer to call by the name exposed onto the film rebate itself: Eastman 5203. The equivalent of 74 rolls of 36-exposure film, it means I’m going to have a lot of 35mm color photography ahead of me for months, certainly, but likely years to come.
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Side-by-Side: ECN-2 vs. C-41 Processing for Kodak Vision3 Film
In the past several years, as film prices rise and film choices diminish, it’s become quite common to tap into 35mm film stocks that are ordinarily sold for motion picture use, and adapt them for still photography. Nudging us all down that path are dozens of companies (and even individuals) who are buying the motion picture stocks in bulk, cutting them down, loading them into 135 roll film cassettes, and selling them at retail, or via online marketplaces. While Eastman 5222, also known as Kodak Double-X, is a common black-and-white motion picture film that’s long been packaged and used for still photography, the practice is increasingly popular in the past few years for color films, namely Kodak’s Vision3 stocks. These films, however, have some unique attributes that make them unsuitable for most lab development, and challenging for home processing as well. Among them is the fact that technically speaking, they’re designed for the ECN-2 process (and chemicals), not the more common C-41 process of developing standard color negative films for still photography. In this article, we dive into the differences, and what you need to know to get great results from these films.
Continue reading…How to Cut and Load Film for the Goerz Minicord
In mid-2022, I was generously gifted a very special camera by a friend: a Goerz Minicord, reportedly the smallest twin-lens reflex (TLR) ever made, and one of the smallest truly serious film cameras ever made for that matter. My friend had inherited the camera, I believe, but had never shot film in it. I have very few “shelf queen” cameras — those that sit on a shelf and either don’t function, or for which film can no longer be purchased. If I own a camera, I want it to work, and I want to have used it at some point or another. As a result, my first objective was to figure-out how to get film into the Minicord and give it a go. Now that I’ve figured it out, it seems useful to share what I found.
Continue reading…Combating the Increasing Cost of Film: Why and How to Bulk Load
As I write this article in November 2021, film photography blogs, podcasts and social media are abuzz about rumors (or promises) by Kodak to raise prices on film again in January 2022 — the latest of a seemingly endless series of increases. It’s not just Kodak; Ilford has raised prices, as have secondary brands like CineStill, Lomography, Adox, Foma and others. And as is customary for companies recently, they’re all blaming COVID-19 and supply chain difficulties and their own rising costs as the reason. Whether you believe that story or sense opportunism, it doesn’t matter: film photography is getting more and more expensive, nearly every day. So, what do we do about it?
Continue reading…Review: Kodak Ektachrome E100 Color Reversal Film (135/120)
Many film photographers were crestfallen when — after declining sales resulting from the rise of digital — Kodak discontinued the last remaining variety of its Ektachrome color reversal film back in 2013, leaving Fujifilm as the only major producer of color reversal films. (I have always preferred the term “reversal film,” but many call it transparency film or slide film.) Some predicted that reversal films would eventually go away, labs that process E-6 (a chemical process identifier for Ektachrome and all other modern reversal films) would stop doing so, the very few remaining labs that specialize in E-6 would close, and that would be that.
Alas, that wasn’t the case, at least not for now. Film slowly began to rebound to a seemingly sustainable level; enough so, apparently, that Kodak made waves when it announced in late 2017 that the Ektachrome production line was to be restarted. Ektachrome E100 finally began reaching store shelves in 135 format in October 2018, followed by 120 and sheet formats, which began to trickle to stores just a few months before the COVID-19 pandemic hit.
Continue reading…Review: Ilford Delta 100 Black and White Negative Film (135, 120)
When I returned to film photography, I have to confess that I came back as a traditional emulsion snob. By traditional, I mean the old stuff: Tri-X, Fomapan, HP5, and so on. What I wanted was authenticity, and I didn’t think that some engineered emulsion, with its controlled formation of silver halide salts (that means you, Delta and T-Max) was something I wanted to have anything to do with. Oh, I tried the modern stuff — and was disappointed by its overly pure, overly perfect contrast, tone and grain. It looked… digital. And the entire reason I was shooting film was to not be digital. All that may be how the story begins, but it’s not how it ends.
Continue reading…Type A, Type B, and the Basics of Color Balance in Films
If you’re a user of vintage cameras, and you happen to read vintage camera manuals, you’ve likely encountered Kodak’s “film types” — nomenclature like “Type A” or “Type G” or similar indicators. If you look at today’s film stocks, however, you don’t see these film types noted. What do they mean, exactly? And do you need to care?
Continue reading…Rediscovering Home Movies: A Brownie Camera, and the FPP
“Load it! Shoot it! Flip it!” I’d heard those words so many times from Michael Raso and the Film Photography Project (FPP) gang on their regular podcast since August 2019, that a year later it had become engrained in my psyche. Raso was referring to his new Double 8 (I prefer to use the term Regular 8, but Standard 8 is also used) film offerings and scanning services, and while it piqued my interest a bit at first, it wasn’t until after a chance notice of a beautiful Regular 8mm Brownie Movie Camera on eBay that I finally decided to bite. What follows is a summary of what my experience was like, including mini-reviews of the 1951 version of the Brownie Movie Camera, and of the FPP’s processing and scanning service for movie film.
Continue reading…Time Capsules: The Voyeuristic Joy of Found Film
I like shopping for classic cameras, I suppose — I must, given how many web sites I frequent, just seeing what I can find, and at what price point. So it was a few weeks back when I was on shopgoodwill.com, the online auction site for numerous Goodwill Industries chapters through the US and Canada. The site has myriad camera listings, but most of the merchandise is, candidly, not that desirable to me. Still, I look from time-to-time, which is how I found an interesting listing, for a not-so-interesting camera.
Continue reading…Review: Ilford Ortho Plus Orthochromatic Black and White Film (120)
In 2019, Ilford Photo started hinting at a new product. Late in the year, we learned what it was to be — a “new” orthochromatic film in 120 and 135 formats. The word “new” is in quotes because the emulsion isn’t new; it’s been available for years in large format sheet film, but it is new to roll film users. I was particularly excited to try Ortho Plus, and after shooting several rolls of the film, I feel I’m finally in a position to write a proper review.
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